‘Kanchana’ (Tamil)
Director: Raghava Larence
Cast: Raghava Larence, Sarath Kumar, Lakshmi Rai, Kovai Sarala, Shriman, Devadarshini, Priya
A few years after his supernatural flick ‘Muni’, Raghava Larence returns with its sequel, ‘Kanchana’. Larence, apart from scripting, directing and producing the film, reprises the character of the man terrified of ghosts and darkness. Targeting the mass audience, he has packed this film with a lot of comic elements, even though he plays the man possessed by the dark spirits, who tries to correct the wrong done in the past.
All this takes a serious turn at the latter part, and goes on to a flashback that touches on a relevant social issue.
The first half depicts the relationship of Raghava with his family. Raghava (Larence) lives with his mother (Kovai Sarala), elder brother and sister-in-law (Shriman-Devadarshini), and their two kids. He is petrified of ghosts, and his family is always at the receiving end of his childlike antics, at times even to the extent of carrying him around.
Veteran actress Kovai Sarala carries her role with aplomb. Devadarshini and Shriman pitch in their bit to keep the proceedings lively. Shriman reveals his funny side in the episodes where he has to deal with his ‘possessed’ brother. Also the scenes where exorcists and charlatans posing as ghosts, are brought in to assess the presence of ghosts in the house. They provide humour and thrill to the film.
Lakshmi Rai, playing Raghava’s love-interest, is only an add-on for the glamour quotient.
The dances are well choreographed by Larence. A special mention should be made on the dance number where differently- abled people (some from the home run by Larence) take part.
The lively family scenes are intercut with the eerie, spooky elements from a haunted bungalow where dark spirits live. And when the two converge, thanks to an inadvertent act by Raghava, it creates havoc in their peaceful family life. The director has focused on how he intends to tell his story, and never strays from it.
Larence does a competent job when he transforms from Raghava to an effeminate person, who has this sudden penchant for feminine things. The consternation of the family, and Raghava’s own confusion as he comes out of the trance-like state, is brought out well by the actor-director.
Sarath Kumar’s entry into the narration lends seriousness and meaning to the proceedings.
Donning the role of the transgender Kanchana, Sarath’s body language and expressions are amazing. Kanchana’s effort to live a life of dignity, and empower others of her ilk, are all brought out ably in the flashback. Priya, a real life transgender, appears in a brief role.
The director should be commended for projecting the transgender community in a positive light.
The climax is a dramatic night-scene at the beach, where a group of transgenders vibrantly dance to a ritual, and where the final vendetta is played out. The ending suggests a part three.
Thaman’s music is a loud cacophony, alerting the audience on what to expect. The graphics could have been of a better quality. But one can understand that it was worked within a tight budget.
More in the genre of a comic-horror flick, ‘Kanchana’ may fall short on finesse and style. But it is much better scripted and executed than ‘Muni’, and is likely to go well with the masses.